Fluxkits Ontleend Aan Duchamp's Box in Valise

4-9-2019 Fluxus - Wikipedia
Fluxus
Fluxus was an international, interdisciplinary community of artists,
composers, designers and poets during the 1960s and 1970s who
engaged in experimental art performances which emphasized the
artistic process over the finished product.[1][2] Fluxus is known for
experimental contributions to different artistic media and disciplines
and for generating new art forms. These art forms include intermedia,
a term coined by Fluxus artist Dick Higgins;[3][4][5][6] conceptual art,
first developed by Henry Flynt;[7][8], an artist often mistakenly
labelled as Fluxus though he considers himself to be extremely
separate from the label, and video art, first pioneered by Nam June
Paik and Wolf Vostell.[9][10][11] Dutch gallerist and art critic Harry
Ruhé describes Fluxus as "the most radical and experimental art
movement of the sixties."[12][13]
Fluxus participants included "artists, composers, designers, and

architects, as well as economists, mathematicians, ballet dancers,
chefs, and even a would-be theologian.[14] Equally significant, they
represented nations across many continents, predominantly Asia,
Europe, and North America.[14]
They produced performance "events," which included enactments of

scores, "Neo-Dada" noise music, and time-based works, as well as Fluxus Manifesto, 1963, by George
Maciunas
concrete poetry, visual art, urban planning, architecture, design,
literature, and publishing. Many Fluxus artists share anti-commercial
and anti-art sensibilities. Fluxus is sometimes described as
"intermedia". The ideas and practices of composer John Cage heavily influenced Fluxus. Especially, his notions that
one should embark on an artwork without a conception of its end, and his understanding of the work as a site of
interaction between artist and audience. The process of creating was privileged over the finished product.[15] Another
notable influence were the readymades of Marcel Duchamp, a French artist who was active in Dada (1916 – c. 1922).
George Maciunas, largely considered to be the founder of this fluid movement, coined the name Fluxus in 1961 to title
a proposed magazine.[16]
Many artists of the 1960s took part in Fluxus activities, including Joseph Beuys, George Brecht, John Cale, Robert
Filliou, Al Hansen, Dick Higgins, Bengt af Klintberg, Alison Knowles, Addi Køpcke, Yoko Ono, Nam June Paik, Ben
Patterson, Daniel Spoerri, and Wolf Vostell. Not only were they a diverse community of collaborators who influenced
each other, they were also, largely, friends. They collectively had what were, at the time, radical ideas about art and the
role of art in society.[17] The intersecting communities within Fluxus and the way that Fluxus developed in overlapping
stages meant that participants each had very different ideas about what Fluxus was.[18] Fluxus founder George
Maciunas proposed a well known manifesto, but few considered Fluxus to be a true movement,[19][20] and therefore
the manifesto was not largely adopted. Instead, a series of festivals in Wiesbaden, Copenhagen, Stockholm,
Amsterdam, London, and New York, gave rise to a loose but robust community with many similar beliefs. In keeping
with the reputation Fluxus earned as a forum of experimentation,[12] some Fluxus artists came to describe Fluxus as a
laboratory.[21][22] Fluxus played an important role in the broadening of what is considered art.[23]
https://en.wikipedia.org/wiki/Fluxus#European_festivals_and_the_Fluxkits 1/22
Contents
History to 1965
Origins
Early Fluxus and Neo-Dada
European festivals and the Fluxkits
New York and the FluxShops
Stockhausen's Originale
History, 1965–78
Perceived insurgencies and the Asiatic influence
Blurring boundaries
Feminism
Utopian communities
End
Since 1978
Influences
Fluxus art
Event score
Use of shock
Artistic philosophies
Late criticism
Fluxus artists
Scholars, critics, and curators associated with Fluxus
Major collections and archives
See also
Selected bibliography
Notes
References
External links
History to 1965
Origins
The origins of Fluxus lie in many of the concepts explored by composer John Cage in his experimental music of the
1930s through the 1960s. After attending courses on Zen Buddhism taught by D. T. Suzuki, Cage taught a series of
classes in experimental composition from 1957 to 1959 at the New School for Social Research in New York City. These
classes explored the notions of chance and indeterminacy in art, using music scores as a basis for compositions that
could be performed in potentially infinite ways. Some of the artists and musicians who became involved in Fluxus,
including Jackson Mac Low, La Monte Young, George Brecht, Al Hansen, and Dick Higgins attended Cage's
classes.[24][25] A major influence is found in the work of Marcel Duchamp.[26] Also of importance was Dada Poets and
Painters, edited by Robert Motherwell, a book of translations of Dada texts that was widely read by members of
Fluxus.[27] The term anti-art, a precursor to Dada, was coined by Duchamp around 1913, when he created his first
readymades from found objects (ordinary objects found or purchased and declared art).[28] Indifferently chosen,
readymades and altered readymades challenged the notion of art as an inherently optical experience, dependent on
academic art skills. The most famous example is Duchamp's infamous altered readymade Fountain (1917), a work
which he signed "R. Mutt." While taking refuge from WWI in New York, in 1915 Duchamp formed a Dada group with
Francis Picabia and American artist Man Ray. Other key members included Arthur Craven, Florine Stettheimer, and
the Baroness Elsa von Freytag-Loringhoven, credited by some

with proposing the idea for Fountain to Duchamp.[29] By 1916
these artists, especially Duchamp, Man Ray, and Picabia,
became the center for radical anti-art activities in New York
City. Their artworks would inform Fluxus and conceptual art in
general.[26] In the late 1950s and very early 1960s, Fluxus and
contemporaneous groups or movements, including
Happenings, Nouveau réalisme, mail art, and action art in
Japan, Austria, and other international locations were, often
placed under the rubric of Neo-Dada".[30]
A number of other contemporary events are credited as either Flux Year Box 2, c.1967, a Flux box edited
anticipating Fluxus or as constituting proto-Fluxus events.[26] and produced by George Maciunas,
The most commonly cited include the series of Chambers Street containing works by many early Fluxus artists
loft concerts, in New York, curated by Yoko Ono and La Monte
Young in 1961, featuring pieces by Yoko Ono, Jackson MacLow,
Joseph Byrd, and Henry Flynt;[31] the month-long Yam festival held in upstate New York by George Brecht and Robert
Watts in May 1963 with Ray Johnson and Allan Kaprow (the culmination of a year's worth of Mail Art pieces);[26] and
a series of concerts held in Mary Bauermeister's studio, Cologne, 1960–61, featuring Nam June Paik and John Cage
among many others. It was at one of these events in 1960, during his Etude pour Piano, that Paik leapt into the
audience and cut John Cage's tie off, ran out of the concert hall, and then phoned the hall's organisers to announce the
piece had ended.[32] As one of the movement's founders, Dick Higgins, stated:
Fluxus started with the work, and then came together, applying the name Fluxus to work which already
existed. It was as if it started in the middle of the situation, rather than at the beginning.[33][34]
The American musician and artist La Monte Young had been enlisted to guest-edit an issue of a literary journal,
Beatitude East, and asked George Maciunas, a trained graphic designer, for help with the layout. Maciunas supplied
the paper, design, and some money for publishing the anthology which contained the work of a more or less arbitrary
group of New York avant-garde artists from that time. By the end of 1961 before An Anthology of Chance
Operations[35] was completed (it was finally published in 1963 by Mac Low and Young), Maciunas had moved to
Germany to escape his creditors and work for the U.S. military.[36] From there, he continued his contact with the New
York artists and with artists like Benjamin Patterson, whom he met in Europe, by September 1962 was joined by Dick
Higgins and Alison Knowles, who traveled to Europe to help him promote a second planned publication to be called
"Fluxus", the first of a series of "yearbooks" of artists' works.
Early Fluxus and Neo-Dada

Lithuanian-born George Maciunas coined the name Fluxus for art produced by a range of artists with a shared
sensibility as an attempt to 'fuse... cultural, social, & political revolutionaries into [a] united front and action'.[37] After
fleeing Lithuania at the end of World War II, his family settled in New York, where he first met a group of avant-garde
artists and musicians centered around John Cage and La Monte Young. After opening a short-lived art gallery on
Madison Avenue, which showed work by Higgins, Yoko Ono, Jonas Mekas, Ray Johnson, Flynt and Young, Maciunas
moved to Wiesbaden, West Germany, having taken a job as a graphic designer with the US Air Force in late 1961[38]
after the gallery had gone bust. Maciunas first publicly coined the term Fluxus (meaning 'to flow') in a 'brochure
prospectus' that he distributed to the audience at a festival he had organized, called Aprés Cage; Kleinen Sommerfest
(After Cage; a Small Summer Festival), in Wuppertal, West Germany, 9 June 1962.[39]
Maciunas was an avid art historian, and initially referred to fluxus as 'neo-dadaism' or 'renewed dadaism'.[40] He
wrote a number of letters to Raoul Hausmann, an original dadaist, outlining his ideas. Hausmann discouraged the use
of the term;
I note with much pleasure what you said about German neodadaists—but I think even the Americans
should not use the term "neodadaism" because neo means nothing and -ism is old-fashioned. Why not
simply "Fluxus"? It seems to me much better, because it's new, and dada is historic.[41]
As part of the festival, Maciunas wrote a lecture, entitled 'Neo-Dada in the United States'.[42] After an attempt to
define 'Concretist Neo-Dada' art, he explained that Fluxus was opposed to the exclusion of the everyday from art.
Using 'anti-art and artistic banalities', Fluxus would fight the 'traditional artificialities of art'.[43] The lecture ended
with the declaration;
Anti-art is life, is nature, is true reality—it is one and all.[43]
European festivals and the Fluxkits

In 1962, Maciunas, Higgins and Knowles, traveled to Europe to
promote the planned Fluxus publication with concerts of
antique musical instruments. With the help of a group of artists
including Joseph Beuys and Wolf Vostell, Maciunas eventually
organised a series of Fluxfests across Western Europe. Starting
with 14 concerts between 1 and 23 September 1962, at
Wiesbaden, these Fluxfests presented work by musicians such
as John Cage, Ligeti, Penderecki, Terry Riley and Brion Gysin
alongside performance pieces written by Higgins, Knowles,
George Brecht and Nam June Paik, Benjamin Patterson, Robert
Piano Activities, by Philip Corner, as
performed in Wiesbaden, 1962, by (l-r) Filliou, and Emmett Williams, amongst many others. One
Emmett Williams, Wolf Vostell, Nam June performance in particular, Piano Activities by Philip Corner,
Paik, Dick Higgins, Benjamin Patterson and became notorious by challenging the important status of the
George Maciunas piano in post-war German homes.
The score—which asks for any number of performers to, among

other things, "play", "pluck or tap", "scratch or rub", "drop objects" on, "act on strings with", "strike soundboard, pins,
lid or drag various kinds of objects across them" and "act in any way on underside of piano"[44]—resulted in the total
destruction of a piano when performed by Maciunas, Higgins and others at Wiesbaden. The performance was
considered scandalous enough to be shown on German television four times, with the introduction "The lunatics have
escaped!"[45]
At the end we did Corner's Piano Activities not according to his instructions since we systematically
destroyed a piano which I bought for $5 and had to have it all cut up to throw it away, otherwise we
would have had to pay movers, a very practical composition, but German sentiments about this
"instrument of Chopin" were hurt and they made a row about it...[46]
At the same time, Maciunas used his connections at work to start printing cheap mass-produced books and multiples
by some of the artists that were involved in the performances. The first three to be printed were Composition 1961 by
La Monte Young see (http://archives.carre.pagesperso-orange.fr/Young%20La%20Monte.html), An Anthology of
Chance Operations edited by Young and Mac Low and Water Yam, by George Brecht. Water Yam, a series of event
scores printed on small sheets of card and collected together in a cardboard box, was the first in a series of artworks
that Maciunas printed that became known as Fluxkits. Cheap, mass-produced and easily distributed, Fluxkits were
originally intended to form an ever-expanding library of modern performance art. Water Yam was published in an
edition of 1000 and originally cost $4.[47] By April 1964, almost a year later, Maciunas still had 996 copies unsold.[48]
Maciunas' original plan had been to design, edit and pay for each edition himself, in exchange for the copyright to be
held by the collective.[49][50] Profits were to be split 80/20 at first, in favor of the artist.[51] Since most of the
composers already had publishing deals, Fluxus quickly moved away from music toward performance and visual art.
John Cage, for instance, never published work under the Fluxus moniker due to his contract with the music publishers
Edition Peters.[52]
Maciunas seemed to have a fantastic ability to get things done.... if you had things to be printed he could
get them printed. It's pretty hard in East Brunswick to get good offset printing. It's not impossible, but
it's not so easy, and since I'm very lazy it was a relief to find somebody who could take the burden off my
hands. So there was this guy Maciunas, a Lithuanian or Bulgarian, or somehow a refugee or whatever—
beautifully dressed—"astonishing looking" would be a better adjective. He was somehow able to carry
the whole thing off, without my having to go 57 miles to find a printer.[53]
Since Maciunas was colorblind, Fluxus multiples were almost always black and white.[54]
New York and the FluxShops

After his contract with the US Air Force was terminated due to ill health, Maciunas
was forced to return to the US on 3 September 1963.[55] Once back in New York,
he set about organizing a series of street concerts and opened a new shop, the
'Fluxhall', on Canal Street. 12 concerts, 'away from the beaten track of the New
York art scene[56]' took place on Canal Street, 11 April to 23 May 1964. With
photographs taken by Maciunas himself, pieces by Ben Vautier, Alison Knowles
and Takehisha Kosugi were performed in the street for free, although in practice
there was 'no audience to speak of'[56] anyway.
'The people in Fluxus had understood, as Brecht explained, that

"concert halls, theaters, and art galleries" were "mummifying."
Instead, these artists found themselves "preferring streets, homes,
and railway stations...." Maciunas recognized a radical political
Willem de Ridder's Mail
potential in all this forthrightly anti-institutional production, which
Order FluxShop,
Amsterdam, with Dorothea was an important source for his own deep commitment to it.
Meijer, winter 1964–65. Deploying his expertise as a professional graphic designer, Maciunas
Photo by Willem de Ridder played an important role in projecting upon Fluxus whatever
coherence it would later seem to have had.'[57]
Along with the New York shop, Maciunas built up a distribution network for the new art across Europe and later
outlets in California and Japan. Gallery and mail order outlets were established in Amsterdam, Villefranche-Sur-Mer,
Milan and London, amongst others.[58] By 1965, the first anthology Fluxus 1 was available, consisting of manila
envelopes bolted together containing work by numerous artists who would later become famous including LaMonte
Young, Christo and Yoko Ono. Other pieces available included packs of altered playing cards by George Brecht,
sensory boxes by Ay-O, a regular newsletter with contributions by artists and musicians such as Ray Johnson and
John Cale, and tin cans filled with poems, songs and recipes about beans by Alison Knowles (see (http://www.aknowle
s.com/beanrolls.html)). A videotape of George and Billy Maciunas' wedding was produced by Dimitri Devyatkin.[59]
Stockhausen's Originale
After returning to New York, Maciunas became reacquainted
with Henry Flynt,[60] who encouraged members of Fluxus to
take a more overtly political stance. One of the results of these
discussions was to set up a picket line at the American premiere
of Originale, a recent work by the German composer Karlheinz
Stockhausen, 8 September 1964.[61] Stockhausen was deemed a
'Cultural Imperialist' by Maciunas and Flynt, while other
members vehemently disagreed. The result was members of
Fluxus, such as Nam June Paik and Jackson Mac Low, crossing
a picket line made up of other members, including Ben Vautier
and Takako Saito[62] who handed out leaflets denouncing
Traitor, you left Fluxus!, a postcard sent by
Stockhausen as "a characteristic European-North American
George Maciunas to Nam June Paik, c late
ruling-class Artist".[63] Dick Higgins participated in the picket, 1964, after the latter's involvement with
and then coolly joined the other performers inside;[64] Stockhausen's Originale
Maciunas and his friend Henry Flynt tried to get

the Fluxus people to march around outside the
circus with white cards that said Originale was
bad. And they tried to say that the Fluxus people
who were in the circus weren't Fluxus any more.
That was silly, because it made a split. I thought it
was funny, and so first I walked around with
Maciunas and with Henry with a card, then I went
inside and joined the circus; so both groups got
angry with me. Oh well. Some people say that
Fluxus died that day—I once thought so myself—
but it turned out I was wrong.[65]
The event, arranged by Charlotte Moorman as part of her 2nd Annual New York Avant Garde Festival, would cement
animosities between Maciunas and her,[66] with Maciunas frequently demanding that artists associated with Fluxus
have nothing to do with the annual festival, and would often expel artists who ignored his demands. This hostility
continued throughout Maciunas' life—much to Moorman's bemusement—despite her continued championing of
Fluxus art and artists.[67]
History, 1965–78
Perceived insurgencies and the Asiatic influence

The picketing of Originale marked the high point of Maciunas' agitprop approach,[68] an approach that estranged
many of Fluxus' early proponents; Jackson Mac Low had resigned immediately after hearing 'antisocial' plans laid in
April 1963, such as breaking down trucks under the Hudson River.[69] Brecht threatened to quit on the same issue,
and then left New York in the spring of 1965. Despite his continued allegiance to Fluxus ideals, Dick Higgins fell out
with Maciunas around the same time, ostensibly over his setting up the
Something Else Press which printed many texts by key Fluxus-related
personalities and other members of the avant garde. Charlotte Moorman
continued to present her annual Avant Garde Festivals.[70]
Such perceived insurrections in the coherence of Maciunas' leadership of

Fluxus provided an opening for Fluxus to become increasingly influenced
by Japanese members of the group.[71] Since returning to Japan in 1961,
Yoko Ono had been recommending colleagues look Maciunas up if they
moved to New York; by the time she had returned, in early 1965, Hi Red Cut Piece, a performance piece by
Center, Shigeko Kubota, Takako Saito, Mieko Shiomi and Ay-O had all Yoko Ono in which the audience is
started to make work for Fluxus, often of a contemplative nature.[72] invited to cut off her clothing. This
version was staged at Carnegie
Recital Hall, New York, 21 March
1965. Still taken from a film by
Blurring boundaries
Albert and David Maysles
As Fluxus gradually became more famous, Maciunas' ambitions for the
sale of cheap multiples grew. The second flux-anthology, the Fluxkit (late
1964),[73] collected together early 3D work made by the collective in a businessman's case, an idea borrowed directly
from Duchamp's Boite en Valise[74][75] Within a year, plans for a new anthology, Fluxus 2, were in full swing to
contain Flux films by John Cale and Yoko Ono (with hand held projectors provided), disrupted matchboxes and
postcards by Ben Vautier, plastic food by Claes Oldenburg, FluxMedicine by Shigeko Kubota,[76] and artworks made of
rocks, ink stamps, outdated travel tickets, undoable puzzles and a machine to facilitate humming.[77]
Maciunas' belief in the collective extended to authorship; a number of pieces from this period were anonymous, mis-
attributed, or have had their authorship since questioned.[78] As a further complication, Maciunas was in the habit of
dramatically changing ideas submitted by various artists before he put the works into production. Solid Plastic in
Plastic Box, credited to Per Kirkeby 1967, for instance, had originally been realised by Kirkeby as a metal box,
inscribed 'This Box Contains Wood'. When opened, the box would be found to contain sawdust. By the time the
multiple had been manufactured by Maciunas, it was a block of solid plastic contained in a plastic box of the same
color.[75] Conversely, Maciunas assigned Degree Face Clock, in which a clock face is measured out in 360°, to Kirkeby
despite being an idea by Robert Watts;[79]
Some years ago, when I spoke with Robert Watts about Degree Face Clock and Compass Face Clock, he
had recalled thinking up the idea himself and was surprised that George Maciunas advertised them as
Per Kirkeby's. Watts shrugged and said that was the way George worked. There would be ideas in the air
and Maciunas would assign the piece to one artist or another.[80]
Other tactics from this time included Maciunas buying large amounts of plastic boxes wholesale, and handing them
out to artists with the simple request to turn them into Fluxkits, and the use of the rapidly growing international
network of artists to contribute items needed to complete works. Robert Watts' Fluxatlas, 1973, for instance, contains
small rocks sent by members of the group from around the world.[81]
In addition to his numerous original compositions which have joined the collective's catalog of works, Larry Miller,
associated with the group since 1969, has also been active as an interpreter of the "classic" scores and responsible for
bringing the group's works to a wider public, blurring the lines between artist, producer and researcher. Besides
Miller’s own artistic work, he has also organized, reconstructed and performed at numerous Fluxus events and
assembled an extensive collection of material on the history of Fluxus.[82] Through Miller, Fluxus attracted media
coverage such as the worldwide CNN coverage of Off Limits exhibit at Newark Museum, 1999.[83] Other Miller
activities as organizer, performer and presenter within the Fluxus milieu include Performance in Fluxus Continue
1963–2003 at Musee d'Art et d'Art Contemporain in Nice; Fluxus a la Carte in Amsterdam; and Centraal Fluxus
Festival at Centraal Museum, Utrecht, Netherlands. In 2004, for Geoff Hendricks' Critical Mass: Happenings, Fluxus,
Performance, Intermedia and Rutgers University 1958–1972, Miller reprised and updated the track and field events
of the Flux Olympics, first presented in 1970.[84] For Do-it Yourself Fluxus at AI – Art Interactive – in Cambridge,
Massachusetts, Miller worked as the curatorial consultant for an exhibit of works that allowed viewers hands-on
experience including the reconstruction of several sections of the historic Flux Labyrinth, a massive and intricate
maze that Miller originally constructed with George Maciunas at Akademie Der Kunst, Berlin in 1976 and which
included sections by several of the Fluxus artists. Miller created a new version of the Flux Labyrinth at the In the
Spirit of Fluxus exhibit at the Walker Art Center in 1994, where Griel Marcus said, "Miller was... fine tuning the
monster."[85]
Feminism
Fluxus women artists were founding members and contributed works in varying media and with differing content.
Some made experimental and performative work having to do with the female body that created a powerful female
presence, which existed within Fluxus from the group's beginning. This is illustrated by works such as Carolee
Schneemann's "Interior Scroll", Yoko Ono's "Cut Piece", and Shigeko Kubota's "Vagina Painting". Women working
within Fluxus were often simultaneously critiquing their position within a male dominated society while also exposing
the inequalities within an art collective that claimed to be open and diverse. George Maciunas, in his rejection of
Schneeman as a member of Fluxus, called her "guilty of Baroque tendencies, overt sexuality, and theatrical excess".[86]
"Interior Scroll" was a response to Schneemann's experience as a filmmaker in the 1950s and 1960s, when male
filmmakers claimed that women should restrict themselves to dance.
He said we are fond of you
You are charming
But don't ask us
To look at your films
We cannot
There are certain films
We cannot look at
The personal clutter
The persistence of feeling
The hand-touch sensibility
— Carolee Schneemann[86]
Utopian communities
A number of artists in the group were interested in setting up Flux communes, intending to 'bridge the gap between
the artist community and the surrounding society'[87] The first of these, La Cédille qui Sourit or The Cedilla That
Smiles,[88] was set up in Villefranche-sur-Mer, France, by Robert Filliou and George Brecht, 1965–1968. Intended as
an 'International Centre of Permanent Creation', the shop sold Fluxkits and other small wares as well as housing a
'non-school', boasting the motto "A carefree exchange of information and experience. No students, no teachers. Perfect
licence, at times to listen at times to talk."[89] In 1966, Maciunas, Watts and others took advantage of new legislation
drafted to regenerate the area of Manhattan known as 'Hell's Hundred Acres', soon to become rebranded as SoHo,
allowing artists to buy live/work spaces in an area that had been blighted due to a proposed 18-lane expressway along
Broome Street.[87] Led by Maciunas, plans were laid to start a series of real-estate developments in the area, designed
to create an artists' community within a few streets of the FluxShop on Canal Street.
'Maciunas wanted to establish collective workshops, food-buying cooperatives and theaters to link the
strengths of various media together and bridge the gap between the artist community and the
surrounding society'
The first warehouse, intended to house Maciunas, Watts, Christo & Jeanne-Claude, Jonas Mekas, LaMonte Young &
others, was located on Greene Street. Likening these communities to the soviet Kolkhozs, Maciunas didn't hesitate to
adopt the title 'Chairman of Bldg. Co-Op'[90] without first registering an office or becoming a member of the New York
State Association of Realtors.[91] FluxHousing Co-Operatives continued to redevelop the area over the next decade,
and were widened to include plans to set up a FluxIsland- a suitable island was located near Antigua, but the money to
buy and develop it remained unforthcoming- and finally a performance arts centre called the FluxFarm established in
New Marlborough, Massachusetts. The plans were continually dogged by financial problems, constant run-ins with the
New York authorities, and eventually resulted, on 8 November 1975, in Maciunas being severely beaten by thugs sent
by an unpaid electrical contractor.[92]
End
It is arguably said that Fluxus came to an end when its founder and leader George Maciunas died in 1978 from
complications due to pancreatic cancer. Maciunas' funeral was held in typical Fluxus style where they dubbed the
funeral "Fluxfeast and Wake", ate foods that were only black, white, or purple.[93] Maciunas left behind his thoughts
on Fluxus in a series of important video conversations called Interview With George Maciunas with Fluxus artist
Larry Miller, which has been screened internationally and translated into numerous languages.[94] Over the past 30
years, Miller has shot and collected Fluxus related materials including tapes on Joe Jones, Carolee Schneemann, Ben
Vautier, Dick Higgins, and Alison Knowles, in addition to the 1978 Maciunas interview.
Since 1978
Maciunas moved to the Berkshire Mountains in Western Massachusetts in the late 1970s. Two decades earlier, after
collecting paintings, the Boston art collector Jean Brown, and her late husband Leonard Brown, began to shift their
focus to Dadaist and Surrealist art, manifestoes and periodicals. In 1971, after Mr. Brown's death, Mrs. Brown moved
to Tyringham, and expanded into areas adjacent to Fluxus, including artists' books, concrete poetry, happenings, mail
art and performance art. Maciunas helped turn her home, originally a Shaker seed house, into an important center for
both Fluxus artists and scholars, with Mrs. Brown alternately cooking meals and showing guests her collection.
Activities centered on a large archive room on the second floor built by Maciunas, who settled in nearby Great
Barrington, where it was discovered that Maciunas developed cancer of the pancreas and liver in 1977.
Three months before his death, he married his friend and companion, the poet Billie Hutching. After a legal wedding
in Lee, Massachusetts, the couple performed a "Fluxwedding" in a friend's loft in SoHo, 25 February 1978. The bride
and groom traded clothing.[95] Maciunas died on 9 May 1978 in a hospital in Boston.
After the death of George Maciunas a rift opened in Fluxus between a few collectors and curators who placed Fluxus as
an art movement in a specific time frame (1962 to 1978), and the artists themselves, many of whom continued to see
Fluxus as a living entity held together by its core values and world view. Different theorists and historians adopted
each of these views. Fluxus is therefore referred to variously in the past or the present tense. While the definition of
Fluxus was always a subject of controversy, the question is now significantly more complex due to the fact that many
of the original artists who were still living when Maciunas died are now dead themselves.[96][97]
Some have argued that the unique control that curator Jon Hendricks holds over a major historical Fluxus collection
(the Gilbert and Lila Silverman collection) has enabled him to influence, through the numerous books and catalogues
subsidized by the collection, the view that Fluxus died with Maciunas. Hendricks argues that Fluxus was a historical
movement that occurred at a particular time, asserting that such central Fluxus artists as Dick Higgins and Nam June
Paik could no longer label themselves as active Fluxus artists after 1978, and that contemporary artists influenced by
Fluxus cannot lay claim to be Fluxus artists.[98][99] The Museum of Modern Art makes the same claim dating the
movement to the 1960s and 1970s.[26][100] However, the influence of Fluxus continues today in multi-media digital art
performances. In September, 2011 Other Minds presented a performance at the SOMArts building in San Francisco to
celebrate the 50th anniversary of Fluxus.[101] The performance was curated by Adam Fong who was also one of the
performers along with Yoshi Wada, Alison Knowles, Hannah Higgins, Luciano Chessa and Adam Overton.
Others, including Hannah Higgins, daughter of fluxus artists Alison Knowles and Dick Higgins, assert that although
Maciunas was a key participant, there were many more, including Fluxus co-founder Higgins, who continued to work
within Fluxus after the death of Maciunas.[102] The rise of the Internet in the 1990s enabled a vibrant post-Fluxus
community to emerge online. After some of the original Fluxus artists from the 1960s and 1970s including Higgins,
created online communities such as the Fluxlist, following their departure, younger artists, writers, musicians, and
performers have attempted to continue their work in cyberspace. Many of the original Fluxus artists still working
enjoy homages by younger Fluxus-influenced artists who stage events to commemorate Fluxus, but discourage the use
of the "Fluxus" label by younger artists.[103][104]
In 2018 the Los Angeles Philharmonic in its Fluxus Festival presented a fluxus performance incorporating John Cage's
"Europeras 1 and 2" directed by Yuval Sharon.[105]
Influences
An immediate predecessor of Fluxus, according to Maciunas, was the Gutai group which promoted art as an anti-
academic, psychophysical experience, an "art of matter as it is" as explained by Shiraga Kazuo in 1956. Gutai became
connected with a sort of artistic mass-production, anticipating Fluxus's trademark, i.e., ambiguity between the
cultivated and the trivial, between high and low. Indeed, avant-garde art in Japan tended toward informal rather than
conceptual elements, radically opposing the extreme formality and symbolism found in Japanese art.
In the 1950s New York music scene there could be discerned many issues related to the post-war disenchantment
experienced by many throughout the developed world. Such disillusionment in itself presented a case for commitment
to Buddhism and Zen in everyday matters such as mental attitude, meditation, and approach to food and body care. It
was also felt, however, that there was a general need for a more radical artistic sensibility. The themes of decay and of
the inadequacy of the idea of modernity in artistic fields were adopted, partly from Duchamp and Dada and partly
from consciousness of the uneasiness of living in contemporary society.
It is said that Fluxus challenged notions of representation, offering instead simple presentation. This, in fact,
corresponds to a major difference between Western and Japanese art. Another important Fluxus characteristic was
the elimination of perceived boundaries between art and life, a very prominent trend in post war art. This was
exemplified by the work and writings of Josheph Bueys who stated, "every man is an artist." Fluxus's approach was an
everyday, "economic" one as seen in the production of small objects made of paper and plastic. Again, this strongly
corresponds with some of the fundamental characteristics of Japanese culture, i.e., the high artistic value of everyday
acts and objects and the aesthetic appreciation of frugality. This also links with Japanese art, and the concept of
shibumi, which may involve incompleteness, and supports the appreciation of bare objects, emphasizing subtlety
rather than overtness. The renowned Japanese aesthetics scholar Onishi Yoshinori called the essence of Japanese art
pantonomic because of the consciousness of no distinction between nature, art and life. Art is the way to approach life
and nature/reality corresponding to actual existence.[106]
Fluxus art
Fluxus encouraged a "do-it-yourself" aesthetic, and valued simplicity over complexity. Like Dada before it, Fluxus
included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-
driven art world in favor of an artist-centered creative practice. As Fluxus artist Robert Filliou wrote, however, Fluxus
differed from Dada in its richer set of aspirations, and the positive social and communitarian aspirations of Fluxus far
outweighed the anti-art tendency that also marked the group.[107]
Among its early associates were Joseph Beuys, Dick Higgins, Davi Det Hompson, Nam June Paik, Wolf Vostell, La
Monte Young, Joseph Byrd, Al Hansen and Yoko Ono who explored media ranging from performance art to poetry to
experimental music to film. Taking the stance of opposition to the ideas of tradition and professionalism in the arts of
their time, the Fluxus group shifted the emphasis from what an artist makes to the artist's personality, actions, and
opinions. Throughout the 1960s and 1970s (their most active period) they staged "action" events, engaged in politics
and public speaking, and produced sculptural works featuring unconventional materials. Their radically untraditional
works included, for example, the video art of Nam June Paik and Charlotte Moorman and the performance art of
Joseph Beuys and Wolf Vostell. During the early years of Fluxus, the often playful style of the Fluxus artists resulted in
them being considered by some to be little more than a group of pranksters. Fluxus has also been compared to Dada
and aspects of Pop Art and is seen as the starting point of mail art and no wave artists. Artists from succeeding
generations such as Mark Bloch do not try to characterize themselves as Fluxus but create spinoffs such as Fluxpan or
Jung Fluxus as a way of continuing some of the Fluxus ideas in a 21st-century, post-mail art context.
In terms of an artistic approach, Fluxus artists preferred to work with whatever materials were at hand, and either
created their own work or collaborated in the creation process with their colleagues. Outsourcing part of the creative
process to commercial fabricators was not usually part of Fluxus practice. Maciunas personally hand-assembled many
of the Fluxus multiples and editions.[108] While Maciunas assembled many objects by hand, he designed and intended
them for mass production.[26][109] Where multiple publishers produced signed, numbered objects in limited editions
intended for sale at high prices, Maciunas produced open editions at low prices.[26][109] Several other Fluxus
publishers produced different kinds of Fluxus editions. The best known of these was the Something Else Press,
established by Dick Higgins, probably the largest and most extensive Fluxus publisher, producing books in editions
that ran from 1,500 copies to as many as 5,000 copies, all available at standard bookstore prices.[110][111] Higgins
created the term "intermedia" in a 1966 essay.
The art forms most closely associated with Fluxus are event scores and Fluxus boxes. Fluxus boxes (sometimes called
Fluxkits or Fluxboxes) originated with George Maciunas who would gather collections of printed cards, games, and
ideas, organizing them in small plastic or wooden boxes.[112]
Event score
An event score, such as George Brecht's "Drip Music", is essentially a performance art script that is usually only a few
lines long and consists of descriptions of actions to be performed rather than dialogue.[113][114][115] Fluxus artists
differentiate event scores from "happenings". Whereas happenings were sometimes complicated, lengthy
performances meant to blur the lines between performer and audience, performance and reality, event performances
were usually brief and simple. The event performances sought to elevate the banal, to be mindful of the mundane, and
to frustrate the high culture of academic and market-driven music and art.
The idea of the event began in Henry Cowell's philosophy of music. Cowell, a teacher to John Cage and later to Dick
Higgins, coined the term that Higgins and others later applied to short, terse descriptions of performable work. The
term "score" is used in exactly the sense that one uses the term to describe a music score: a series of notes that allow
anyone to perform the work, an idea linked both to what Nam June Paik labeled the "do it yourself" approach and to
what Ken Friedman termed "musicality." While much is made of the do it yourself approach to art, it is vital to
recognize that this idea emerges in music, and such important Fluxus artists as Paik, Higgins, or Corner began as
composers, bringing to art the idea that each person can create the work by "doing it." This is what Friedman meant by
musicality, extending the idea more radically to conclude that anyone can create work of any kind from a score,
acknowledging the composer as the originator of the work while realizing the work freely and even interpreting it in
far different ways from those the original composer might have done.
Other creative forms that have been adopted by Fluxus practitioners include collage, sound art, music, video, and
poetry—especially visual poetry and concrete poetry.
Use of shock
Nam June Paik and his peers in the Fluxus art movement thoroughly understood the impact and importance of shock
on the viewer. Fluxus artists believed that shock not only makes the viewer question their own reasoning, but is a
means to awaken the viewer, "...from a perceptive lethargy furthered by habit."[116] Paik himself described the shock
factor in his Fluxus work: "People who come to my concerts or see my objects need to be transferred into another state
of consciousness. They have to be high. And in order to put them into this state of highness, a little shock is required...
Anyone who came to my exhibition saw the head and was high."[117] Paik's "head" was that of a real cow displayed at
the entrance to his exhibition, Exposition of Music—Electronic Television, located in the Galerie Parnass, Wuppertal,
Germany in 1963.[118]
Artistic philosophies
Fluxus is similar in spirit to the earlier art movement of Dada, emphasizing the concept of anti-art and taking jabs at
the seriousness of modern art.[119] Fluxus artists used their minimal performances to highlight their perceived
connections between everyday objects and art, similarly to Duchamp in pieces such as Fountain.[119] Fluxus art was
often presented in "events", which Fluxus member George Brecht defined as "the smallest unit of a situation."[119][120]
The events consisted of a minimal instruction, opening the events to accidents and other unintended effects.[121] Also
contributing to the randomness of events was the integration of audience members into the performances, realizing
Duchamp's notion of the viewer completing the art work.[121]
The Fluxus artistic philosophy has been defined as a synthesis of four key factors that define the majority of Fluxus
work:
1. Fluxus is an attitude. It is not a movement or a style.[122]

2. Fluxus is intermedia.[123] Fluxus creators like to see what happens when different media intersect. They use
found and everyday objects, sounds, images, and texts to create new combinations of objects, sounds, images,
and texts.
3. Fluxus works are simple. The art is small, the texts are short, and the performances are brief.
4. Fluxus is fun. Humor has always been an important element in Fluxus.
Late criticism
There is a complexity in adequately charting a unified history of Fluxus. In Fluxus: A brief History and Other Fictions,
Owen Smith concedes that, with the emergence of new material published about Fluxus and its expansion into the
present, its history must remain open.[124] The resistance to being pigeonholed, and with the absence of a stable
identity, Fluxus opened up to wide participation but also, from what would appear in history, closed off that
possibility. Maciunas made frequent acts of excommunication between 1962 and 1978 which destabilized the
collective.[125] Kristine Stiles argues in one of her essays that the essence of Fluxus is "performative", while recently
she feels that essence has been "eroded or threatened". Fluxus instead moved towards favoring the objects of
publication, Stiles asserts: "Care must be taken that Fluxus is not transformed historically from a radical process and
presentational art into a tradition static and representational art."[124] With no leadership, no identifiable guidelines,
no real collective strategy, no homogeneity in terms of practices, Fluxus cannot be handled through traditional critical
tools. Fluxus is an indicator of this confusion. Fluxus therefore is nearly always a discourse on the failure of
discourse.[126]
Fluxus artists
Fluxus artists shared several characteristics including wit and "childlikeness", though they lacked a consistent identity
as an artistic community.[127] This vague self-identification allowed the group to include a variety of artists, including
a large number of women. The possibility that Fluxus had more female members than any Western art group up to
that point in history is particularly significant because Fluxus came on the heels of the white male-dominated abstract
expressionism movement.[127] However, despite the designed open-endedness of Fluxus, Maciunas insisted on
maintaining unity in the collective. Because of this, Maciunas was accused of expelling certain members for deviating
from what he perceived as the goals of Fluxus.[128]
Many artists, writers, and composers have been associated with Fluxus over the years, including:
Eric Andersen
John Armleder
Ay-O
Joseph Beuys
Bazon Brock
Joseph Byrd
John Cage[129]
Giuseppe Chiari
Henning Christiansen
Philip Corner
Jean Dupuy
Öyvind Fahlström
Robert Filliou
Simone Forti
Henry Flynt
Ken Friedman
Al Hansen
Geoffrey Hendricks
Dick Higgins
Davi Det Hompson
Alice Hutchins
Toshi Ichiyanagi
Terry Jennings
Ray Johnson
Joe Jones
Allan Kaprow
Bengt af Klintberg
Milan Knížák
Alison Knowles
Arthur (Addi) Køpcke
Takehisa Kosugi
Philip Krumm
Shigeko Kubota
George Landow
Vytautas Landsbergis
Jackson Mac Low
Richard Maxfield
George Maciunas
Jonas Mekas
Gustav Metzger
Larry Miller
Kate Millett
Charlotte Moorman
Maurizio Nannucci
Louise Odes Neaderland
Yoko Ono
Robin Page
Nam June Paik
Ben Patterson
Judy Rifka
Terry Riley
Dieter Roth
Takako Saito
Carolee Schneemann
Mieko Shiomi
Daniel Spoerri
James Tenney
Yasunao Tone
Ben Vautier
Wolf Vostell
Yoshi Wada
Robert Watts
Chuck Welch
Emmett Williams
La Monte Young
Scholars, critics, and curators associated with Fluxus

Simon Hannah Higgins
Anderson Judith Hoffberg
Jacquelynn Jill Johnston
Baas Natasha
Rene Block Lushetich
Jean Brown Owen Smith
David Doris Kristine Stiles
Peter Frank Knud Pedersen
Ken Friedman
John Held, Jr.
Major collections and archives

Alternative Traditions in Contemporary Art, University Library and University of Iowa Museum of Art, University of
Iowa, Iowa City, Iowa, USA
Archiv Sohm, Staatsgalerie Stuttgart, Stuttgart, Germany
Archivio Conz, Verona, Italy
Artpool, Budapest, Hungary
Emily Harvey Foundation, New York City, and Venice, Italy
David Mayor/Fluxshoe/Beau Geste Press papers, Tate Gallery Archive, Tate Britain, London, England[130]
Fluxus Collection, Ken Friedman papers, Tate Gallery Archive, Tate Britain, London, England
Fluxus Collection, Walker Art Center, Minneapolis, Minnesota, USA
Fondation du Doute[131]
FONDAZIONE BONOTTO, Molvena, Vicenza, Italy
Franklin Furnace Archive, The Museum of Modern Art, New York City
George Maciunas Memorial Collection, The Hood Museum of Art, Dartmouth College, Hanover, New Hampshire,
USA
Gilbert and Lila Silverman, Fluxus Foundation, Detroit, Michigan, and New York City, USA
Museo Vostell Malpartida[132] Cáceres, Spain
Museum Fluxus+ Potsdam, Germany[133]
Jean Brown papers, 1916–1995 (http://hdl.handle.net/10020/cifa890164) finding aid, Getty Research Institute,
Los Angeles[134]
Sammlung Maria und Walter Schnepel, Bremen, Germany
Institute for the Arts & Science, University of California, Santa Cruz, USA
De Montfort University, Leicester, UK
TVF The Endless Story of FLUXUS,[135] Gent, Belgium
Jonas Mekas Visual Arts Center, Vilnius, Lithuania
The Israel Museum, Jerusalem, Gift from the Gilbert and Lila Silverman Collection, Detroit, to American Friends
of the Israel Museum
See also
Anti-art
Art intervention
Artist's book
Body art
Conceptual art
Fluxus at Rutgers University
Gutai group
Happening
Intermedia
Mail art
Ministry of Fluxus
Neo-Dada
Noise music
Performance art
Pop art
Xerox art
Selected bibliography
Jürgen Becker, Wolf Vostell, Happenings, Fluxus, Pop Art, Nouveau Réalisme. Eine Dokumentation. Rowohlt
Verlag, Reinbek 1965.
Happening & Fluxus. Kölnischer Kunstverein, 1970.
Harry Ruhé, Fluxus, The most radical and experimental art movement of the sixties. Verlag A, Amsterdam, 1979.
Baas, Jacquelynn, Friedman, Ken Fluxus and the Essential Questions of Life. Chicago and Hanover, NH:
University of Chicago Press and Hood Museum of Art, 2011. ISBN 978-022-60335-9-4.
Bernstein, Roslyn, and Shael Shapiro. Illegal Living: 80 Wooster Street and the Evolution of SoHo (Jonas Mekas
Foundation), www.illegalliving.com ISBN 978-609-95172-0-9, September 2010.
Block, René, ed. 1962 Wiesbaden Fluxus 1982. Wiesbaden: Harlekin Art, Museum Wiesbaden, and
Nassauischer Kunstverein, 1982.
Clay, Steve, and Ken Friedman, eds. Intermedia, Fluxus and the Something Else Press: Selected Writings by
Dick Higgins. Catskill: NY: Siglio Press, 2018. ISBN 978-1-938221-20-0.
Der Traum von Fluxus. George Maciunas: Eine Künstlerbiographie. Thomas Kellein, Walther König, 2007.
ISBN 978-3-8656-0228-2.
Fluxus und Freunde: Sammlung Maria und Walter Schnepel, Katalog zur Ausstellung Neues Museum
Weserburg Bremen; Fondazione Morra, Napoli; Kunst Museum Bonn 2002.
Friedman, Ken, ed. The Fluxus Reader (http://hdl.handle.net/1959.3/42234). Chicester, West Sussex and New
York: Academy Editions, 1998.
Gray, John. Action Art. A Bibliography of Artists’ Performance from Futurism to Fluxus and Beyond. Westport,
Connecticut: Greenwood Press, 1993.
Haskell, Barbara. BLAM! The Explosion of Pop, Minimalism and Performance 1958–1964. New York: W.W.
Norton & Company, Inc. in association with the Whitney Museum of American Art, 1984.
Hansen, Al, and Beck Hansen. Playing with Matches. RAM USA, 1998.
Hapgood, Susan, and Cornelia Lauf. FluxAttitudes. Ghent: Imschoot Uitgevers, 1991.
Held, John Jr. Mail Art: an Annotated Bibliography. Metuchen, New Jersey and London: The Scarecrow Press,
Inc., 1991.
Held, John Jr. Where the Secret is Hidden: Collected Essays Breda: TAM-Publications Netherlands, 2011.
Hendricks, Geoffrey, ed. Critical Mass, Happenings, Fluxus, Performance, Intermedia and Rutgers University
1958–1972. Mason Gross Art Galleries, Rutgers, and Mead Art Gallery, Amherst, 2003.
Hendricks, Jon, ed. Fluxus, etc.: The Gilbert and Lila Silverman Collection. Bloomfield Hills, Michigan: Cranbrook
Museum of Art, 1982.
Higgins, Hannah. Fluxus Experience. Berkeley: University of California Press, 2002.
Janssen, Ruud. Mail-Interviews Part-1 Interviews with Mail-Art and Fluxus Artists. Breda: TAM-Publications,
Netherlands 2008.
Kellein, Thomas. Fluxus. London and New York: Thames and Hudson, 1995.
Milman, Estera, ed. Fluxus: A Conceptual Country, Visible Language [Special Issue], Vol. 26, Nos. 1/2,
Providence: Rhode Island School of Design, 1992.
Fluxus y Di Maggio. Museo Vostell Malpartida, 1998, ISBN 84-7671-446-7.
Moren, Lisa. Intermedia. Baltimore, Maryland: University of Maryland, Baltimore County, 2003.
Paull, Silke, and Hervé Würz, eds. "How We Met or a Microdemystification". AQ 16 [Special Issue], (1977)
Phillpot, Clive, and Jon Hendricks, eds. Fluxus: Selections from the Gilbert and Lila Silverman Collection. New
York: Museum of Modern Art, 1988.
Saper, Craig J. Networked Art. Minneapolis: University of Minnesota Press, 2001.
Schmidt-Burkhardt, Astrit. Maciunas’ Learning Machines: From Art History to a Chronology of Fluxus, with a
foreword by Jon Hendricks. Second, revised and enlarged edition, Vienna and New York: Springer, 2011.
ISBN 978-3-7091-0479-8.
Smith, Owen. Fluxus: The History of an Attitude. San Diego State University Press, San Diego, California, 1998.
Nie wieder störungsfrei! Aachen Avantgarde seit 1964, Kerber Verlag, 2011, ISBN 978-3-86678-602-8.
Fluxus at 50. Stefan Fricke, Alexander Klar, Sarah Maske, Kerber Verlag, 2012, ISBN 978-3-86678-700-1.
Fluxus! 50 Jahre Fluxus. Werner Esser, Steffen Engle, Staatsgalerie Stuttgart, 2012. ISBN 978-3-86442-032-0.
Stegmann, Petra, ed. 'The lunatics are on the loose…' European Fluxus festivals 1962–1977. Down with art!
Berlin 2012. ISBN 978-3-9815579-0-9.
Stegmann, Petra, ed. Fluxus East. Fluxus-Netzwerke in Mittelosteuropa. Fluxus Networks in Central Eastern
Europe. Künstlerhaus Bethanien, Berlin 2007. ISBN 978-3932754876.
Würz, Fleurice Fluxus Nice. Saarbrücken (Germany): AQ-Verlag, 2011. ISBN 978-3-922441-11-3.
Beuys Brock Vostell. Aktion Demonstration Partizipation 1949–1983. ZKM – Zentrum für Kunst und
Medientechnologie, Hatje Cantz, Karlsruhe, 2014, ISBN 978-3-7757-3864-4.
Notes
1. Nationalencyclopedin (Swedish National Encyclopedia). 2016. "Fluxus." Accessible at:
http://www.ne.se/uppslagsverk/encyclopedi/lång/fluxus Accessed September 11, 2016.
2. Wainwright, Lisa S. 2016. "Fluxus." Britannica Academic (Encyclopedia Britannica Online).

3. Higgins, Dick. 1966. "Intermedia." Something Else Newsletter. Vol. 1, No. 1, February, pp. 1–3.
4. Higgins, Dick. 2001. "Intermedia" Multimedia: From Wagner to Virtual Reality. Randall Packer and Ken Jordan,
eds. New York: W.W. Norton and Co., pp. 27–32.
5. Higgins, Dick. 1984. Horizons: The Poetics and Theory of the Intermedia. Carbondale and Edwardsville:
Southern Illinois University Press
6. Hannah B Higgins,"The Computational Word Works of Eric Andersen and Dick Higgins", Mainframe
Experimentalism: Early Digital Computing in the Experimental Arts, Hannah Higgins, & Douglas Kahn, eds., pp.
271–281
7. Flynt, Henry. 1961. "Concept Art: Innperseqs." Reprinted in 1963: An Anthology. La Monte Young, ed. New York:
Jackson Mac Low and La Monte Young, np.
8. Flynt, Henry. 1963. "Essay: Concept Art: Provisional Version." An Anthology. La Monte Young, ed. New York:
Jackson Mac Low and La Monte Young, np.
9. Paik, Nam June. 1993. Nam June Paik: eine Data Base. La Biennale di Venezia. XLV Esposizione lnternazionale
D’Arte, June 13 – October 10, 1993. Klaus Bussmann and Florian Matzner, eds. Venice and Berlin: Biennale di
Venezia and Edition Cantz.
10. Hanhardt, John and Ken Hakuta. 2012. Nam June Paik: Global Visionary. London and Washington, D.C.: D.
Giles, Ltd., in association with the Smithsonian American Art Museum.
11. Fundacio Joan Miro. 1979. Vostell. Environments Pintura Happenings Dibuixos Video de 1958 a 1978.
Barcelona: Fundacio Joan Miro.
12. Ruhé, Harry. 1979. Fluxus, the Most Radical and Experimental Art Movement of the Sixties Amsterdam: Editions
Galerie A.
13. Ruhé, Harry. 1999. "Introduction." 25 Fluxus Stories Amsterdam: Tuja Books, p. 4.
14. Friedman, Ken. 2011. "Fluxus: A Laboratory of Ideas." Fluxus and the Essential Qualities of Life. Jacquelynne
Baas, editor. Chicago: University of Chicago Press, p.35.
15. "Fluxus Movement, Artists and Major Works" (http://www.theartstory.org/movement-fluxus.htm). Retrieved
6 October 2015.
16. Armstrong, Elizabeth (1993). In the Spirit of Fluxus. Minneapolis: The Occasion of the Exhibition. p. 24.
ISBN 9780935640403.
17. Zurbrugg, Nicholas. 1990. “A Spirit of Large Goals.” – Dada and Fluxus at Two Speeds. Fluxus! Nicholas
Zurbrugg, Francesco Conz, and Nicholas Tsoutas, eds. Brisbane, Australia: Institute of Modern Art, p. 29.
18. Smith, Owen F. 1998. Fluxus: The History of an Attitude. San Diego: San Diego State University Press.
19. Higgins, Dick. 1992. "Fluxus: Theory and Reception." Lund Art Press, Vol II, No 2, pp. 25–46.
20. Higgins, Dick. 1998. "Fluxus: Theory and Reception." The Fluxus Reader, Ken Friedman, ed. Chichester, West
Sussex: Wiley Academy Editions, pp. 218–236.
21. Friedman, Ken. 2011. “Fluxus: A Laboratory of Ideas.” Fluxus and the Essential Qualities of Life. Jacquelynne
Baas, editor. Chicago: University of Chicago Press, p.35.
22. Friedman, Ken. 2012. “Freedom? Nothingness? Time? Fluxus and the Laboratory of Ideas.” Theory, Culture, and
Society. Vol. 29, No. 7/8, December, pp. 372–398. DOI: https://dx.doi.org/10.1177/0263276412465440
23. Tate Gallery. "Nam June Paik. Fluxus, Performance, Participation." Tate Online. Accessible at:
http://www.tate.org.uk/whats-on/exhibition/nam-june-paik/nam-june-paik-room-guide/nam-june-paik-section-2
Accessed September 15, 2016.
24. Maciunas himself joined the class in 1959–60, and was taught by Maxfield
25. George Brecht; A Heterospective, Walther König, p28.
26. Michael Corris, MoMA, Grove Art Online, Oxford University Press, 2009 (http://www.moma.org/collection/theme.
php?theme_id=10457)
27. Motherwell, Robert and Jean Arp (1989). The Dada Painters And Poets: An Anthology. Cambridge, Mass:
Belknap Press Of Harvard University Press.
28. Anti-art, Art that challenges the existing accepted definitions of art, Tate (http://www.tate.org.uk/learn/online-reso
urces/glossary/a/anti-art)
29. Cotter, Holland. "New York Times" (https://www.nytimes.com/2006/07/06/arts/design/06dada.html?_r=1).
30. Hapgood, Susan and Rittner, Jennifer. "Neo-Dada: Redefining Art, 1958–1962" Performing Arts Journal, Vol. 17,
No. 1 (Jan., 1995), pp. 63–70.
31. Performances at Yoko Ono's Chambers Street Loft (http://www.jeclique.com/onoweb/loftono.html)
32. Tate, Nam June Paik, Fluxus, Performance, Participation (http://www.tate.org.uk/whats-on/exhibition/nam-june-p
aik/nam-june-paik-room-guide/nam-june-paik-section-2)
33. Dick Higgins on Fluxus (https://www.youtube.com/watch?v=9feLztCuQ18), interviewed 1986.
34. Amongst the earliest pieces that would later be published by Fluxus were Brecht's event scores, the earliest of
which dated from around 1958/9, and works such as Valoche, which had originally been exhibited in Brecht's
solo show 'Toward's Events' at 1959.
35. full title, 'An Anthology of chance operations concept art anti-art indeterminacy improvisation meaningless work
natural disasters plans of action stories diagrams Music poetry essays dance constructions mathematics
compositions'
36. Chamberlain, Colby. "Design in Flux" Art In America. 1 October 2014 (http://www.artinamericamagazine.com/ne
ws-features/magazine/design-in-flux/.)
37. Fluxus Manifesto, 1963, by George Maciunas
38. Fluxus Codex, Hendricks, p22
40. Maciunas, Fluxus Prospectus, quoted in Fluxus Codex, Hendricks, p23
41. Raoul Hausmann, quoted in Mr. Fluxus, Williams andNoel, p40. Letter dated 4 November 1962, according to
The Dream of Fluxus, n.47, p65
42. The lecture was actually given, in German, by Artus C Caspari
43. The Dream of Fluxus, Kellein, p62
44. Marcus Boon (http://marcusboon.com/node/23) Archived (https://web.archive.org/web/20101102022741/http://m
arcusboon.com/node/23) 2 November 2010 at the Wayback Machine
45. "Die Irren Sind Los" quoted in The Dream Of Fluxus, Kellein, p65.
46. George Maciunas, letter to La Monte Young, 1962, quoted in Mr. Fluxus, Williams and Noël, p53
47. Price listed in the Fluxus Preview Review, July 1963, quoted in the Fluxus Codex, Hendricks, Abrams, 1989
p217
48. Maciunas, letter to Emmett Williams, quoted in Mr. Fluxus, Williams and Noel, p106
50. The Dream of Fluxus, Kellein, p69
51. This was to go down to 50/50 within a year; Dream of Fluxus, Kellein, p88
52. Maciunas sent out letters to 20 international artists between late 62 and early 63, demanding each artist
relinquish any publishing rights and have Fluxus as sole and exclusive publisher. Maciunas likened his
agreement to Cage's arrangement with Peters Editions. Only two artists—Henry Flynt and Thomas Schmitt
signed up. Cage was not asked, due at least on Maciunas' side, to the aforesaid contract with editions peters.
Dream of Fluxus, Thomas Kellein, Thames And Hudson, p69-71
53. George Brecht, "An Interview with Robin Page for Carla Liss", In Art And Artists, London October 1972, p30-31
reprinted in Mr. Fluxus, Williams and Noel, Thames And Hudson, p109-10 ISBN 0-500-97461-6
54. Art in Review, NY TImes (https://www.nytimes.com/1996/05/24/arts/art-in-review-069620.html)
55. Mr. Fluxus, Willims and Noel, p340
56. The Dream of Fluxus, p93
57. Julia Robinson quoting George Brecht in George Brecht, Events; A Heterospective, Walther Konig, p118.
59. Marriage of George and Billy Maciunas (https://www.youtube.com/watch?v=AVDB1oy1O8s)
60. At the time, a member of the leftist set WWP, Mr Fluxus, p108
61. Bloch, Mark. "On Originale.", from Bloch, Mark, editor (http://www.panmodern.com/OnStockhausen-sOriginale.p
df). "Robert Delford Brown: Meat, Maps and Militant Metaphysics," Cameron Museum of Art, Wilmington, N.C.,
2008.
63. Picket Stockhausen Concert! Flynt and Maciunas flyer, 1964. Reproduced
64. A film of the event, UbuWeb (http://www.ubu.com/film/stockhausen_originale.html)
65. Dick Higgins, "A Child's History of Fluxus (http://www.artnotart.com/fluxus/dhiggins-childshistory.html)", 1979.
66. The Dream of fluxus, note 104, p98
67. Charlotte Moorman and Nam June Paik "The Originale" (https://www.youtube.com/watch?v=wiEJdOlgcDE)
68. Stewart Home, The Assault on Culture, The origins of Fluxus and the movement in its 'heroic' period, Chapter 9
(http://www.stewarthomesociety.org/ass/fluxone.htm)
69. Jackson Mac Low quoted in Mr Fluxus, p94-95
70. Annual Avant Garde Festival of New York
72. Dream of Fluxus, p102
73. Fluxkit, MoMA (http://www.moma.org/interactives/exhibitions/2011/fluxus_editions/works/fluxkit/)
74. Fluxus Codex, p76
75. MoMA, Interactive exhibitions (http://www.moma.org/interactives/exhibitions/1999/muse/artist_pages/duchamp_b
oite.html)
76. containing empty pill packages
77. fluxus codex, Hendricks, p124
78. Yoko Ono, for instance, has claimed authorship of Mieko Shiomi's Disappearing Music For Face (aka Smile) for
instance.
79. fluxus codex p290
80. Jon Hendricks, quoted in fluxus codex, p291.
81. 'All contributors will receive a box in return...' Codex, p542
82. Fluxus East: Fluxus Networks in Central Eastern Europe. http://www.fluxus-east.eu/?
item=exhib&lang=en&sub=miller
83. Marter, Joan M. and Anderson, Simon. Off Limits: Rutgers University and the Avant-garde, 1957–1963. Newark
Museum. Newark, NJ
84. Hendricks, Geoffrey, editor. Critical Mass: Happenings, Fluxus, Performance, Intermedia, and Rutgers. Mead Art
Museum, Amherst, Massachusetts
85. Marcus, Griel. Real Life Rock: The Complete Top Ten Columns, 1986–2014. Yale University Press, New Haven,
Connecticut pg. 114.
86. O'Dell, Kathy (Spring 1997). "Fluxus Feminus". TDR. 41 (1): 43–60. doi:10.2307/1146571 (https://doi.org/10.230
7%2F1146571). JSTOR 1146571 (https://www.jstor.org/stable/1146571).
87. The History of Artists and Art Production in SoHo, Danielle (http://www.wordsinspace.net/urban-media-archaeolo
gy/2011-fall/2011/10/11/project-proposal-2/)
88. Harren, Natilee. "La cédille qui ne finit pas: Robert Filliou, George Brecht, and Fluxus in Villefranche." Getty
Research Journal, No. 4 (2012), pp. 127–143.
89. Fluxkit documenting the project (http://catalogue.drouot.com/ref-drouot/lot-ventes-aux-encheres-drouot.jsp?id=11
50365)
93. DiTolla, Racy (2015). "Fluxus Movement, Artists and Major Works" (http://www.theartstory.org/movement-fluxus.
htm). The Art Story.
94. Interview with Larry Miller, 1978, referenced in Mr Fluxus, E Williams and A Noel, Thames and Hudson, 1997,
p114
95. According to Hutching, quoted in Mr. Fluxus, p280. Maciunas was a transvestite and masochist.
96. Ken Johnson, Liberating Viewers, and the World, With Silliness, NY Times, exhibition Review (https://www.nytim
es.com/2011/09/24/arts/design/fluxus-and-the-essential-questions-of-life-review.html)
97. Fluxus at NYU (http://www.nyu.edu/greyart/exhibits/fluxus/FluxNYU.html)
98. Hendricks, Jon. 1988. Fluxus codex. Detroit, Mich: Gilbert and Lila Silverman Fluxus Collection in association
with H.N. Abrams, New York.
99. Robert Pincus-Witten on Fluxus, and Jon Hendricks's Codex (http://sdrc.lib.uiowa.edu/atca/subjugated/one_2.ht
m)
100. MoMA exhibitions, October 2009 – August 2010 (http://www.moma.org/visit/calendar/exhibitions/1033) Retrieved
5 September 2010
101. [1] (https://www.sfcv.org/reviews/other-minds/always-in-flux-mostly-in-fun) Retrieved 1 August 2014
102. Interview with Hannah Higgins (http://mouthtomouthmag.com/higgins.html)
103. Bloch, Mark. "The Boat Book: Alison Knowles" (http://whitehotmagazine.com/articles/boat-book-alison-knowles/3
113)
104. Drinkall, Jacquelene. "Human Telepathic Collaborations from Fluxus to Now" (http://artsonline.monash.edu.au/co
lloquy/download/colloquy_issue_twenty-two/drinkall.pdf)
105. "What Happens When Fluxus Enters the Concert Hall?" (https://www.nytimes.com/2018/11/11/arts/music/la-philh
armonic-fluxus-festival.html). New York Times. Retrieved 17 November 2018.
106. Galliano, Luciana (Summer 2006). "Toshi Ichiyanagi, Japanese Composer and "Fluxus" ". Perspectives of New
Music. 44 (2): 250–261. JSTOR 25164637 (https://www.jstor.org/stable/25164637).
107. Robert Filliou on Fluxus and art (http://artsbirthday.blogspot.com/2007/12/who-was-robert-filliou.html) Retrieved
5 September 2010
108. Ken Friedman, 40 Years of Fluxus (http://www.artnotart.com/fluxus/kfriedman-fourtyyears.html) Archived (https://
web.archive.org/web/20100211142656/http://www.artnotart.com/fluxus/kfriedman-fourtyyears.html) 11 February
2010 at the Wayback Machine Retrieved 5 September 2010
109. Maciunas on Fluxus (http://www.artnotart.com/fluxus/gmaciunas--.html) Retrieved 5 September 2010
110. Fluxus and Happening, the Something Else Press (http://members.chello.nl/j.seegers1/flux_files/something-else-
press.html) Retrieved 5 September 2010
111. UBUWeb (http://www.ubu.com/historical/gb/) Retrieved 5 September 2010
112. Kellein, Hendriks, and Hendricks 1995.
113. Kotz, Liz (Spring 2001). "Post-Cagean aesthetics and the 'event' score". October. 95 (95): 55–89.
JSTOR 779200 (https://www.jstor.org/stable/779200).
114. Dezeuze, Anna (January 2002). "Origins of the Fluxus score: from indeterminacy to the 'do-it-yourself' artwork".
Performance Research. 7 (3): 78–94. doi:10.1080/13528165.2002.10871876 (https://doi.org/10.1080%2F13528
165.2002.10871876).
115. Robinson, Julia (Winter 2009). "Abstraction to model: George Brecht's events and the conceptual turn in art of
the 1960s". October. 127: 77–108. doi:10.1162/octo.2009.127.1.77 (https://doi.org/10.1162%2Focto.2009.127.1.
77). JSTOR 40368554 (https://www.jstor.org/stable/40368554).
116. Brill, Dorothée (2010). Shock and the Senseless in Dada and Fluxus (https://books.google.com/?id=64_MywUrft
oC&lpg=PA131&dq=.from%20a%20perceptive%20lethargy%20furthered%20by%20habit%22&pg=PA131#v=on
epage&q=.from%20a%20perceptive%20lethargy%20furthered%20by%20habit%22&f=false). UPNE. p. 131.
ISBN 9781584659174.
117. Toop, David (5 May 2016). Into the Maelstrom: Music, Improvisation and the Dream of Freedom: Before 1970 (ht
tps://books.google.com/books?id=xv7XCwAAQBAJ&lpg=PA294&dq=People%20who%20come%20to%20my%2
0concerts%20or%20see%20my%20objects%20paik&pg=PA294#v=onepage&q=People%20who%20come%20t
o%20my%20concerts%20or%20see%20my%20objects%20paik&f=false). Bloomsbury Publishing USA. p. 294.
ISBN 9781441102775.
118. Brill, Dorothee (2010). Shock and the Senseless in Dada and Fluxus. University Press of New England Hanover
and London. p. 131. ISBN 978-1-58465-917-4.
119. Rush 2005, p. 24.
120. On George Brecht, Robert Filliou and others (http://members.chello.nl/j.seegers1/flux_files/brecht.html)
Retrieved 5 September 2010
121. Rush 2005, p. 25
122. Smith 1998,.
123. Higgins 1966,
124. O'neill, Rosemary. In the Spirit of Fluxus. Art Journal 53.1 (1994): 90–93. Web.
125. O'dell, Kathy. Fluxus Feminus. Tdr (1988–) 41.1 (1997): 43–60. Web.
126. Fluxus, More Flux Than History. Art-Press 391 (2012): 65–69. Art Source. Web. 6 October 2015.
127. O'Dell, 1997, p. 43
128. Oren 1993, p. 8.
129. Baas, Jacquelynn, et al. Fluxus and the Essential Questions of Life, pp 80,86. Chicago and Hanover, NH:
University of Chicago Press and Hood Museum of Art, 2011.
130. Tate Archive and Public Records Catalogue (http://archive.tate.org.uk/DServe/dserve.exe?dsqServer=tb-calm&d
sqIni=Dserve.ini&dsqApp=Archive&dsqCmd=Show.tcl&dsqDb=Catalog&dsqPos=8&dsqSearch=(UserWrapped5
='Mayor'),)
131. Fondation du Doute (http://www.fondationdudoute.fr/1584-presentation.htm)
132. Museo Vostell Malpartida (http://museovostell.gobex.es)
133. Museum Fluxus+ Potsdam, Germany (http://www.fluxus-plus.de)
134. Getty Research Institute Selected Special Collections Finding Aids. Jean Brown papers, 1916–1995, bulk 1958–
1985. (http://archives.getty.edu:8082/cgi/f/findaid/findaid-idx?cc=utf8a;c=utf8a;view=reslist;subview=standard;did
no=US%3A%3ACMalG%3A%3A890164). Retrieved 28 August 2008.
135. The Endless Story of FLUXUS (http://www.artvideo.tv)
References
Armstrong, Elizabeth, and Simon Anderson, eds. In The Spirit Of Fluxus. Minneapolis: Walker Art Center, 1993.
Hendricks, Jon. Fluxus Codex. New York: Harry N. Abrams, Inc. 1989.
Higgins, Dick. 1966. "Intermedia." Something Else Newsletter. Vol. 1, No. 1.
Kellein, Thomas, and Jon Hendricks (1995). Fluxus. London: Thames & Hudson.
O'Dell, Kathy (1997). "Fluxus Feminus". The Drama Review. 41 (1): 43–60. doi:10.2307/1146571 (https://doi.org/
10.2307%2F1146571). JSTOR 1146571 (https://www.jstor.org/stable/1146571).
Oren, Michel (1993). "Anti-Art as the End of Cultural History". Performing Arts Journal. 15 (2): 1–30.
doi:10.2307/3245708 (https://doi.org/10.2307%2F3245708). JSTOR 3245708 (https://www.jstor.org/stable/32457
08).
Robinson, Julia. 2005. George Brecht Events: A Heterospective. Cologne: Museum Ludwig and Bucchandlung
Walther Koenig.
Rush, Michael. 2005. New Media in Art. London: Thames & Hudson.
Smith, Owen. 1998. Fluxus: The History of an Attitude. San Diego: San Diego State University Press
Williams, Emmett, and Ann Noel, eds. Mr. Fluxus: A Collective Portrait of George Maciunas. London: Thames
and Hudson, 1997.
Zanichelli, Elena. Women In Fluxus & Other Experimental Tales: Eventi Partiture Performance.
External links
Links at Ubuweb:
Samples of Fluxus Audio (http://www.ubu.com/sound/tellus_24.html) on the Tellus Audio Cassette Magazine
An Anthology of Chance Operations (1963) (http://ubu.com/historical/young/index.html)
FluxFilms (1962–1970) in MPEG format (http://www.ubu.com/film/fluxfilm.html)
Interview with Ken Friedman (http://www.fluxusheidelberg.org/kenfriedman.html)
European Fluxus Festivals 1962–1977 (http://thelunaticsareontheloose.tumblr.com/)
John Cage on I've Got A Secret performing Water Walk, January 1960, from the same era as his teaching
classes at the New School (https://www.youtube.com/watch?v=SSulycqZH-U)
MOMA online archive of Fluxus 1, Fluxkit and Flux Year Box 2 (http://www.moma.org/interactives/exhibitions/201
1/fluxus_editions/category_works/fluxus1/)
Museum Fluxus+ Potsdam, Germany (http://www.fluxus-plus.de/)
Museo Vostell Malpartida (http://museovostell.gobex.es), Cáceres, Spain.
Subjugated Knowledges exhibition catalogue (http://sdrc.lib.uiowa.edu/atca/subjugated/cover.htm)
The Copenhagen Fluxus Archive (http://www.fluxus-archive.dk)
Dick Higgins collection at the University of Maryland, Baltimore County (http://aok2.lib.umbc.edu/specoll/Higgins/
index.php)
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4-9-2019 Fluxus - Wikipedia

Fluxus participants included "artists, composers, designers, and

They produced performance "events," which included enactments of

the Baroness Elsa von Freytag-Loringhoven, credited by some

Early Fluxus and Neo-Dada

Anti-art is life, is nature, is true reality—it is one and all.[43]

European festivals and the Fluxkits

The score—which asks for any number of performers to, among

New York and the FluxShops

'The people in Fluxus had understood, as Brecht explained, that

Maciunas and his friend Henry Flynt tried to get

Perceived insurgencies and the Asiatic influence

Such perceived insurrections in the coherence of Maciunas' leadership of

He said we are fond of you

You are charming

But don't ask us

To look at your films

There are certain films

The personal clutter

The persistence of feeling

The hand-touch sensibility

1. Fluxus is an attitude. It is not a movement or a style.[122]

Scholars, critics, and curators associated with Fluxus

Major collections and archives

2. Wainwright, Lisa S. 2016. "Fluxus." Britannica Academic (Encyclopedia Britannica Online).

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This page was last edited on 2 September 2019, at 21:26 (UTC).

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